(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.

01 October 2011

Where can a lady get some pizza?

Jem Cohen: Little Flags (1991-2000) in "September 11" at MoMA PS1

"At moments, we sense or glimpse the twin towers. They lurk, gigantic, for example, in the background of Jem Cohen’s “[Little]Flags,” an eerie film of the ticker-tape parade celebrating the end of the Persian Gulf war, in 1991, that shows us lower Broadway covered with paper, as it would be after the towers fell."- Roberta Smith via NYTIMES

[From museum plaque]
Jem Cohen
American, b. 1962
Little Flags
Super 8mm film transferred to DVD (b/w, sound); 6:00 minutes

In the summer of 1991, filmmaker Jem Cohen attended a ticker-tape parade in New York, organized along lower Broadway, to celebrate the successful conclusion of the Gulf War. The thousands of troops, including those from seventeen of the allied countries that had fought in the coalition to repel Saddam Hussein from Kuwait, walked uptown from Battery Park on what was known, even then, as the “canyon of heroes,” passing a few blocks from the World Trade Center. Operation Welcome Home involved more than six thousand tons of ticker tape and confetti, which were dumped down from buildings lining the route.

In 2000, Cohen assembled the footage he shot that day into Little Flags, a short film that may now seem at first glance to have been made on September 11, 2001. People trudge through the paper-filled streets around the trade towers, passing police barricades; debris floats down from on high. In light of the patriotic fervor that followed 9/11, the chanting of “U-S-A” does not seem out of place. Visually linking the first Iraq war to the terrorist attacks that would occur a decade later, Cohen’s film serves as an uncanny premonition not simply of the destruction of the trade towers, but also of the second invasion of Iraq launched in response.


The G-train wasn't running so I hopped on the B62 and made my way to LIC to PS1. There were as many people as books and I was a bit overwhelmed. Ran into a few friends, and successfully avoided people I did not want to talk to. All in all, the trip was a success. Even found a gift for Gabrielle. The titles/ covers I took photos of I thought were funny. Definitely check out the fair if you're in NYC this weekend. Cheers.

Sharkbite by V-Money


The Man Who Shot The Man Who Shot Lincoln by Drew Christie

via Juxtapoz

The Man Who Shot The Man Who Shot Lincoln from Drew Christie on Vimeo.

Fountain Art Fair, Los Angeles: September 30–October 2, 2011

Text and Image via Juxtapoz

Fountain Art Fair Los Angeles

September 30–October 2, 2011

The East Coast’s Fountain Art Fair lands on the West Coast this weekend, bringing with it three days of art, music, and more. You know, “The way an art fair should be,” says The Economist. The Juxtapoz-sponsored Fountain Art is an exhibition of avant-garde artwork in New York during Armory week, Miami during Art Basel Miami Beach, and this weekend in Los Angeles during Pacific Standard Time weekend.

Founded in 2006, Fountain Art Fair emerged to leverage support for smaller independent galleries to gain access to larger collectors and critics. Since, Fountain has held five exhibitions in Miami, one in Chicago, and six in New York. From its roots deep within the independent Williamsburg art scene, Fountain has grown to represent over 20 international avant-garde galleries and projects, showcasing progressive primary-market works.

Fountain Los Angeles kicks off with Flavorpill Friday, sponsored by culture gurus Flavorpill, featuring Fountain’s platform of progressive galleries, independent artist projects curated by Ever Gold Gallery, and collectives, plus local DJs. Returnees Brian Leo and Danni Rash from Christina Ray Gallery will offer a special edition Fountain surfboard created by Lindsay Carron and Courtney Branch of Board Well, your very own retro Lomography camera, and more.

Snap your photo at Newestra’s funky photo booth Saturday night back dropped by the beats of LA DJs LaMuerte, Antidote, P-Dot, Dances with Wolves, and Bullet & SnowFox. Pick up swag at the Yelp table and head to the courtyard to check out Fountain’s street art installation, co-curated by Carly Ivan Garcia. Artists include: GILF!, Eddie Colla, Tiki Jay One, Shark Toof, Chor Boogie, Hugh Leeman, Billi Kid & CIG, Ian Ross, and Cryptik.

Fountain exhibitors include CHALK, Los Angeles *Ever Gold, San Francisco *HungryMan, San Francisco * Murder Lounge, New York *Cheap & Plastique, Brooklyn *Christina Ray Gallery, New York *TincaArt, New York * Blythe Projects, Los Angeles

Independent Artist Projects: Ryan Cronin, New York *The Mechanism, Los Angeles *Carly Ivan Garcia, San Francisco * GILF!, Brooklyn *Greg Haberny, New York *Brian Leo, New York *Evo Love, Miami *Danni Rash, New York * Aleve Mei Loh, Los Angeles


Fountain Art Fair Los Angeles
Where: Lot 613 (613 Imperial Street LA, CA 90021)
When: 12pm–7pm
How Much: $10 daily / $15 weekend pass (all tickets sold at door)
Party (21+): Friday September 30th
Flavorpill Friday (all day)
Opening Night Reception (7pm–1am)
Saturday October 1, 7pm–1am
LA Weekly Presents: Saturday Night Event

Nathan Pickett in Jersey City

LNY in Jersey City

30 September 2011


Printed Matter presents the sixth annual NY Art Book Fair, from September 30 to October 2, 2011, at MoMA PS1, Long Island City, Queens. A preview will be held on the evening of Thursday, September 29th. Free and open to the public, and featuring more than 200 exhibitors, the NY Art Book Fair is the world's premier event for artists’ books, contemporary art catalogs and monographs, art periodicals, and artist zines. Exhibitors include international presses, booksellers, antiquarian dealers, artists and independent publishers from twenty-one countries.

Philip Aarons, Chair of the Board for Printed Matter, Inc., said: “The NY Art Book Fair remains the premier venue to find what’s new in art publishing. This year’s focus on artists’ photography books, and the addition of more than 60 zinesters in an outdoor tent, will make this year's edition of the Fair the best so far.”

16,500 people attended The NY Art Book Fair 2010, the last edition of this favorite meeting place for book collectors, dealers, artists, curators, independent publishers, and other art enthusiasts.

The NY Art Book Fair 2011 will include special projects, screenings, book signings, and performances, throughout the weekend. The Classroom—a curated series of artist-led workshops, readings, and discussions—and the fifth annual Contemporary Artists’ Books Conference—a dynamic, two-day symposium on emerging practices and debates within art-book culture—will engage visitors in lively conversation all weekend long.

The NY Art Book Fair is free and open to the public.

Preview: Thursday, September 29, 6 pm–9 pm
Friday, September 30, 11 am–7 pm
Saturday, October 1, 11 am–7 pm
Sunday, October 2, 11 am–7 pm

22-25 Jackson Avenue at 46th Avenue
Long Island City, NY

29 September 2011

With Clouds Comes Clarity


Richard Serra: Junction/Cycle at Gagosian Gallery, NYC

I consider space to be a material.The articulation of space has come to take precedence over other concerns.I attempt to use sculptural form to make space distinct.– Richard Serra

[PRESS RELEASE]Gagosian Gallery is pleased to present Junction (2011) and Cycle (2010), two new sculptures by Richard Serra.Serra has pushed the unique sculptural syntax that he developed over the last fifteen years to arrive at entirely new forms in two of his most complex and challenging works to date.

Matthew Barney: DJED at Gladstone Gallery

[PRESS RELEASE]Gladstone Gallery is pleased to announce an exhibition of new sculpture by Matthew Barney. "DJED" marks Barney's first New York exhibition of the "Ancient Evenings" project, which has been in progress since 2007. Featuring three large-scale sculptures, this exhibition represents a departure from Barney's signature materials, presenting his first major works produced from traditional sculptural and industrial metals such as iron, bronze, lead and copper. The exhibition will also include new drawings, which delicately map the character and thematic development of the project.

"Ancient Evenings” is a multi-part project structured as a site-specific opera in collaboration with Jonathan Bepler, loosely based on Norman Mailer's 1983 novel of the same title. Set in ancient Egypt, Mailer’s novel chronicles the seven stages of the soul's progression through death and rebirth according to Egyptian mythology, as told through the story of one man. While Mailer's narrative focuses on the transformation of the human body, Barney enacts the recurring cycles of reincarnation through the use of an automobile, creating a contemporary allegory of death and rebirth within the American industrial landscape. The sculptures on view are both formally and conceptually related to the 1967 Chrysler Crown Imperial from Cremaster 3. Revolving around three generations of American automobile design, the "Ancient Evenings" narrative is rooted in the reincarnation of its leading protagonist, the Chrysler Imperial.

Throughout “Ancient Evenings,” the figure of the Chrysler Imperial both embodies the narrative of the project and carries it forward, weaving together the genealogies of material and myth into sculptural form. The centerpiece of the exhibition, DJED, is a monumental cast iron sculpture that was poured during a live performance of the opera's third act in 2010. The primary form of DJED is the undercarriage of the Chrysler Imperial, modified to evoke the pillar-like hieroglyph of the Egyptian god Osiris' power. For this work, twenty-five tons of molten iron were poured from five custom-built furnaces into an open, molded pit in the earth at the site of a derelict steel mill along the Detroit River.

“Ancient Evenings” continues Barney’s program of the last twenty years, in which narrative sculpture is generated through a complex system of storytelling that intertwines personal, historical, and modern mythologies.

Nick Cave: FOR NOW at Mary Boone Gallery

Mary Boone Gallery
541 West 24th Street
10 September to 22 October 2011

[PRESS RELEASE] On 10 September 2011, Mary Boone Gallery, in collaboration with Jack Shainman Gallery, will open at its Chelsea location For Now, an Installation of new work by NICK CAVE.

For Now is an open playground of the Artist’s daring and iconic Soundsuits – hybrid
sculptural forms based on the scale of the Artist’s body. The Soundsuits camouflage and amplify the body, creating an exuberant second skin that conceals race, gender,and class.

Cave builds on a long and multifarious world history of accreted fetishes and Shamanistic figures, bringing together a range of raw and manufactured materials to create an Installation that he heralds as a “psychedelic, functified freak show that is an accumulation of the decades from the perspective of voodoo woo-loo.” Cave surpasses his Soundsuits’ individual theatricality by moving them into circus acts, stacked one on top of the other, or arranged in volatile vignettes.

For Now is like walking into a frozen frame of Soundsuits interacting on a playground without rules – a celebratory release of color, chaos, exuberance, and a surplus of dares that are caught in the act.

Nick Cave at Jack Shainman Gallery

September 8 – October 8, 2011
In collaboration with Mary Boone Gallery

[PRESS RELEASE]Jack Shainman Gallery is pleased to announce Ever-After, a solo exhibition of new work by Nick Cave. Cave will present a group of ‘Soundsuits.’ This sculptural form based on the scale of the artist’s body is at the core of Cave’s practice. It camouflages the body, masking and creating a second skin that conceals race, gender, and class, forcing the viewer to look without judgment. However, Ever-After marks a noticeable shift in his approach. The ‘Soundsuits’ will interact within subtly narrative tableaux. These figurative landscapes connect the viewer to a social consciousness, summoning the echoes and voices which Cave believes have been paralyzed to silence and subjected to unfair altercations in an often hostile society.

‘Mating Season’ is an encounter of white-haired, boyish bunny figures suggesting a sublime play of fornication, placed in multiple positions. ‘Speak Louder’ comprises a group of figures that unite into one organism. Several of the figures gesture in a manner that reveals emotional references and together speaks of a multiplying figure that becomes an assemblage or a whole. The unifying surface of the piece is constructed from a surge of assorted black buttons. Each button offers the reflection of a memory, a thought, and the inheritance of personal identity. The accumulation of buttons invades a singular cloth producing a choir of voices. These tableaux will provoke new readings of Cave’s work, which in the past has been constructed around the individual figure.

The cumulative effect will be a black and white interior psychological world probing consciousness, contemplation and deep exploration. There is an ephemeral quality that articulates both absence and a transcendent yet dependent spirit. Ultimately Cave strips down to the bare essence in this exhibition, turning his back on the noise as he chooses to walk into what he pictures as an abyss of serenity. This experience is inextricably linked to Cave’s concurrent solo exhibition at Mary Boone Gallery, which is an open playground of ‘Soundsuits’ that celebrates exuberance, chaos, and color. The two exhibitions form one complete encounter.